TYPOGRAPHY.
EMILY FORRESTER
What did Helvetica tell you today? The first font that was not hand lettering The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage. The rise of different media forms and the modern advertising industry increased the need for a readable, easily displayed typeface. Helvetica then spread rapidly across the globe it appeared in corporate logos, signage for transportation systems, fine art prints etc.
one of the most well known signs in the world, hollywood .Uses helvetica font, this shows how flexible font today and how it can portay differnt meanings and still represent a brand.
vanilabcn is a graphic desginer and illustrator .He creates fonts and imagrey for nike as well as for various skateboard magazines.what i like about vanilabcn is the way he focuses on the text creating an picture .hE ALSO DOES NOT CREATE A TEXT WHICH IS VISUALLY PLEASING HE ALSO makes the font three-dimensional so that the font has depth and some moving aspect.
Here is a typeface example by Thijs Verbeek. showing the flexabitly in the skin to create the alphabet showing font in 2012 is not only used for a purpose but also for art.
This shows the devolpement in graphic from the creation of the font helvetica .
I LOVE MY BED
fOR THIS PROJECT WE WERE ASKED TO DESGIN A TYPE FACE THAT REPRESENTS THE THING THAT WE LOVE THE MOST IN THE WORLD.. I HAVE CHOSEN MY BED, THE REASON WHY I HAVE CHOSEN MY BED AS I COULD HAPPLY BE LEFT THERE OR AM THERE MOST OF THE DAY. ANOTHER REASON IS I LOVE TO DREAM AND MY DREAMS ARE EXTREMLEY sulrealist. .i enjoy coming home a surrounding myself in blankets duvets and pillows climbing into a cave of feathers and cotton.
The reason why i chose erwn wurn as he manipulates the body a simple item such as a jumper placed differntly the body is not a body it almost becomes a sculpture. i could use my duvet to manipulate my body to create a type face. also going inside duvet covers streching them out folding them in to create the font.
“The act of dealing with sweaters, putting them on and taking them off, is hardly ever perceived consciously. When the object, i.e. the sweater, is stretched so that the body of the wearer can find its way into this envelope, when it shrinks so as to adapt to the body’s contours and to create a shape or a lack thereof, an essential plastic process takes place.” Erwin Wurm
erwin wurm
TRACEY EMIN
HERE IS ANOTHER EXAMPLE OF TRACEY EMINS WORK THAT INVOLES SLEEP AND BEDS.HERE SHE HAS ILLUSRATED AND WROTE ON HER PILLOW.I FEEL THAT THIS ALMOST REPRESENTS THAT SHE IS SENDING MESSAGES TO HER SELF WHILE SE IS UNCONIOUS .I FEEL THAT I COULD WRITE OR STICH MY FONT ONTO A PILLOW CASE SHOWING UNCIOUS OBTAINING THE ALPHABET.
Everyone I Have Ever Slept With 1963–1995, IS A DOCUMENTAtion of who she has ever shared the same bed as this goes from her child hood teddy bear to her aborted children. The tent its shape was represented the Margate Shell Grotto which was a very familiar childhood place of interest ; inside on the floor of the tent was the text, “With myself, always myself, never forgetting”
VICTOR AND ROLF SAY NO TO FASHION AS THE FASHION INDUSTRY IS SO FAST THEY WANT TO STOP. THE LETTERS BULDGE OUT OF THE CLOTHING.I LIKE THE FACT THAT THE LETTERS SEEM SEAMLESS FROM THE JACKET AND THAT THE JACKET IS SPEAKING FOR ITSELF..I COULD PUSH LETTERS THROUGH WITH MY DUVET ONTO MY DUVET COVER LETTING THE BED SPEAK FOR ITSELF, AS IN MY DREAMS WERE STILL EXGISTING THROUGHT THE FABRIC.
“We love fashion, but it’s going so fast. We wanted to say ‘No’ this season.” 2008 victor and rolf q
WORKSHOP: LIVE POSTER WORKSHOP in this workshopwe had to replicate a poster not though illusrating or graphic desgin but create the image with carboard and use of photography.i felt that the workshop helped me not rely on photoshop and i realised that i can create effective images through exploring different meterials and layering them together .
the orginal poster
process of the image.
IN THE PROCESS OF CREATING THIS IMAGE THE TOOLS IN WHCIH MY GROUP USED WERE AS FOLLOWS: WIG,TIGHTS, SILVER SPRAY PAINT,CAMERA,LIGHTING,TIGHTIS LEOTARD,CARBOARD,WINDMACHINE AND PHOTOSHOP.
CATRUN FINAL IMAGE. IN THE PROCESS OF MAKING THE FINAL IMAGE. WE USED CARBOARD AND STENCILING TO CREATE THE CAT RUN TEXT AND THE GUN .THE TEXT WE STUCK IT TO A BLACK PAPER DROP BACKGROUND IN THE STUDIO TO MAKE THE LETTERS AND SILLHOUTE OF THE BODY STAND OUT IN THE FINAL IMAGE, WHEN USED SILVER SPRAY PAINT WHICH WOULD REFLECT THE LIGHT IN THE STUDIO SO WHEN THE LGHTING WAS CHANGED IT ALSO CHANGED THE COLOUR OF TEXT GIVING US DIFFERENT VARIATIONS OF COLOURED FONT.THE ON PHOTOSHOP WE CUT AROUND THE IMAGE SO IT WOULD REPRESENT SILLHOUTE AND DOWNLOADED A HAIR BRUSH TOOL ON PHOTOSHOP TO ADD MORE MOVEMENT IN THE IMAGES.I WANTED THE POSTER TO REFLECT THE ORGINAL AND THE PROCESS WE HAD WENT TO SO LEFT THIS AS MY FINAL IMAGE.
CONCEPT OF TEXT. tHE CONCEPT OF MY FINAL TYPE WAS THE IDEA OF USING WHAT WAS ON AND WHAT HAS STAINED MY PILLOW CASE, BEDDING SLOWLY AFTER TIME OUR DUVET AND PILLOW BECOMES A DOCUMENTATION OF WHAT WE LEAVE AFTER BEING IN OUR BEDS.
final typeface
final typeface. i used mascara , tea, and embroidrey to represent the process of being in my bed.i feel that even though my final outcome in parts are mismatched but feel this represents the staining of extremely well.i feel that my main influence of my final image comes from the arist tracy emin as ths is a personal peice that reflects my bed.i have also used the sentence the quick brown fox jumps over the lazy dog as this contains all the letters of the english alphabet and represnts dream like state in which it may not be noticeable of the meaning or content of the letters or dreams but looking deeper into the text there is a purpose behinde it.